Native Recognition
Indigenous Cinema and the Western
1st Edition
Published on 25. January 2013
428 pages
978-1-4384-4399-7 (ISBN)
Description
Offers a new interpretation of the century-long relationship between the Western film genre and Native American filmmaking.
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More details
Series
Language
English
Place of publication
Basel/Berlin/Boston
United States
Target group
Professional and scholarly
Edition type
Digital original
Product notice
Reflowable
Illustrations
Total Illustrations: 111
Total Illustrations: 111
ISBN-13
978-1-4384-4399-7 (9781438443997)
Schweitzer Classification
Other editions
Additional editions
Book
07/2013
State University of New York Press
€45.70
Shipment within 10-20 days
Book
12/2012
State University of New York Press
€109.10
Shipment within 10-20 days
Person
Joanna Hearne is Associate Professor of English and Film Studies at the University of Missouri. She is the author of Smoke Signals: Native Cinema Rising.
Content
List of Illustrations
Acknowledgments
Introduction: Before-and-After: Vanishing and Visibility in Native American Images
Part I: Indigenous Presence in the Silent Western
1. Reframing the Western Imaginary: James Young Deer, Lillian St. Cyr, and the "Squaw Man" Indian Dramas
2. "Strictly American Cinemas": Social Protest in The Vanishing American, Redskin, and Ramona
Part II: Documenting Midcentury Images
3. "As If I Were Lost and Finally Found": Repatriation and Visual Continuity in Imagining Indians and The Return of Navajo Boy
Part III: Independent Native Features
4. Imagining the Reservation in House Made of Dawn and Billy Jack
5. "Indians Watching Indians on TV": Native Spectatorship and the Politics of Recognition in Skins and Smoke Signals
Coda
Persistence Vision
Notes
Works Cited
Index
Acknowledgments
Introduction: Before-and-After: Vanishing and Visibility in Native American Images
Part I: Indigenous Presence in the Silent Western
1. Reframing the Western Imaginary: James Young Deer, Lillian St. Cyr, and the "Squaw Man" Indian Dramas
2. "Strictly American Cinemas": Social Protest in The Vanishing American, Redskin, and Ramona
Part II: Documenting Midcentury Images
3. "As If I Were Lost and Finally Found": Repatriation and Visual Continuity in Imagining Indians and The Return of Navajo Boy
Part III: Independent Native Features
4. Imagining the Reservation in House Made of Dawn and Billy Jack
5. "Indians Watching Indians on TV": Native Spectatorship and the Politics of Recognition in Skins and Smoke Signals
Coda
Persistence Vision
Notes
Works Cited
Index
